Oil on panel. Signed in the lower left. 57.5 x 42 cm. [KA]. - Rare work of New Objectivity from Radziwill's early surrealist period. - First exhibited in 1928. - With her draped cloak, feathered hat, and mysterious gaze, “Frau mit weißem Umhang” (Woman with White Cloak) combines the tradition of royal portraits with the dawn of a pioneering new painting style. - Created during his studies at the Art Academy in Dresden. - Influences of the Old Masters: Inspired by artists such as Caspar David Friedrich, Radziwill developed a unique, surreal visual language that contains profound symbolism and allusions to transience. - Most recently shown in the exhibition “Schneeweiß und Nachtschwarz” at the Franz Radziwill House, Dangast, 2016/17. We are grateful to Prof. Dr. Dr. Gerd Presler for his kind expert advice. LITERATURE: Andrea Firmenich, Rainer W. Schulze, Franz Radziwill. 1895-1983. Monograph and catalogue raisonné, Cologne 1995, cat. no. 285 (illustrated) Radziwill list 4, no. 80 (inscribed on the reverse) - Wilfried Seeba, Franz Radziwill (1895-1983). Catalogue raisonné of watercolors, drawings, and painted postcards, Isensee 2006, p. 67: Study of an old woman for “Woman with White Cloak.” Olaf Peters, Im Lichte der Staatsideen: Franz Radziwill's Gemälde “Revolution/Demons,” in: Uwe Fleckner (ed.), Das verfemte Meisterwerk: Schicksalswege moderner Kunst im “Dritten Reich,” Berlin 2009, pp. 365-382, here pp. 376, 382: Studio photograph from ca. 1936 showing the present work.
Franz Radziwill, Kunsthütte Chemnitz, January/February 1928, no number. Retrospektiv-Ausstellung Franz Radziwill. Ölgemälde, Aquarelle, Baukunst Architekturgesellschaft, Cologne, September 11-November 9, 1968, cat. no. 28. Franz Radziwill, Galleria d'Arte Stivani, Bologna, November 18-December 18, 1972, cat. no. 7 (illustrated) Europa due tra sogno e impegno, Pinacoteca Comunale, Ravenna, July 26-September 15, 1973, cat. no. 119 Neue Sachlichkeit and German Realism of the Twenties, Hayward Gallery, London, November 11, 1978-January 14, 1979, cat. no. 201. Franz Radziwill, Staatliche Kunsthalle, Berlin, November 23, 1981-January 3, 1982; Landesmuseum Oldenburg, January 15-February 15, 1982; Kunstverein Hanover, February 21-April 12, 1982, cat. no. 39. Messerscharf und detailverliebt. Werke der Neuen Sachlichkeit, Kunstforum Ostdeutsche Galerie Regensburg, October 31, 2015-January 31, 2016; Landesgalerie Linz des Oberösterreichischen Landesmuseums, March 10-June 5, 2016, pp. 75-76, cat. no. 40 (illustrated) Schneeweiß und Nachtschwarz, Franz Radziwill House and Archive, Varel-Dangast, March 13, 2016-January 8, 2017, cat. no. 9 (illustrated)
Galleria del Levante, Milan/Munich (directly from the artist, until 1981, with the label on the reverse). Private collection, Milan (from the above, 1981- ca. 1983). Private collection, South Germany (since ca. 1983)
In good condition. The edges are slightly rubbed from the frame, but have been expertly restored. Overall with subtle craquelure. The condition report was compiled in daylight and with the help of a UV light source to the best of our knowledge and belief.
Lot Details
Oil on panel. Signed in the lower left. 57.5 x 42 cm. [KA]. - Rare work of New Objectivity from Radziwill's early surrealist period. - First exhibited in 1928. - With her draped cloak, feathered hat, and mysterious gaze, “Frau mit weißem Umhang” (Woman with White Cloak) combines the tradition of royal portraits with the dawn of a pioneering new painting style. - Created during his studies at the Art Academy in Dresden. - Influences of the Old Masters: Inspired by artists such as Caspar David Friedrich, Radziwill developed a unique, surreal visual language that contains profound symbolism and allusions to transience. - Most recently shown in the exhibition “Schneeweiß und Nachtschwarz” at the Franz Radziwill House, Dangast, 2016/17. We are grateful to Prof. Dr. Dr. Gerd Presler for his kind expert advice. LITERATURE: Andrea Firmenich, Rainer W. Schulze, Franz Radziwill. 1895-1983. Monograph and catalogue raisonné, Cologne 1995, cat. no. 285 (illustrated) Radziwill list 4, no. 80 (inscribed on the reverse) - Wilfried Seeba, Franz Radziwill (1895-1983). Catalogue raisonné of watercolors, drawings, and painted postcards, Isensee 2006, p. 67: Study of an old woman for “Woman with White Cloak.” Olaf Peters, Im Lichte der Staatsideen: Franz Radziwill's Gemälde “Revolution/Demons,” in: Uwe Fleckner (ed.), Das verfemte Meisterwerk: Schicksalswege moderner Kunst im “Dritten Reich,” Berlin 2009, pp. 365-382, here pp. 376, 382: Studio photograph from ca. 1936 showing the present work.
Franz Radziwill, Kunsthütte Chemnitz, January/February 1928, no number. Retrospektiv-Ausstellung Franz Radziwill. Ölgemälde, Aquarelle, Baukunst Architekturgesellschaft, Cologne, September 11-November 9, 1968, cat. no. 28. Franz Radziwill, Galleria d'Arte Stivani, Bologna, November 18-December 18, 1972, cat. no. 7 (illustrated) Europa due tra sogno e impegno, Pinacoteca Comunale, Ravenna, July 26-September 15, 1973, cat. no. 119 Neue Sachlichkeit and German Realism of the Twenties, Hayward Gallery, London, November 11, 1978-January 14, 1979, cat. no. 201. Franz Radziwill, Staatliche Kunsthalle, Berlin, November 23, 1981-January 3, 1982; Landesmuseum Oldenburg, January 15-February 15, 1982; Kunstverein Hanover, February 21-April 12, 1982, cat. no. 39. Messerscharf und detailverliebt. Werke der Neuen Sachlichkeit, Kunstforum Ostdeutsche Galerie Regensburg, October 31, 2015-January 31, 2016; Landesgalerie Linz des Oberösterreichischen Landesmuseums, March 10-June 5, 2016, pp. 75-76, cat. no. 40 (illustrated) Schneeweiß und Nachtschwarz, Franz Radziwill House and Archive, Varel-Dangast, March 13, 2016-January 8, 2017, cat. no. 9 (illustrated)
Galleria del Levante, Milan/Munich (directly from the artist, until 1981, with the label on the reverse). Private collection, Milan (from the above, 1981- ca. 1983). Private collection, South Germany (since ca. 1983)
In good condition. The edges are slightly rubbed from the frame, but have been expertly restored. Overall with subtle craquelure. The condition report was compiled in daylight and with the help of a UV light source to the best of our knowledge and belief.
Max Liebermann 
